But they're packed with "SONIC POSSIBILITIES!" lol
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- Опубліковано 5 лип 2024
- Has technology advanced enough so pickups are the main deciding factor in a solidbody electric?
The Spectre Digital Summer Slam Super Sale ends TOMORROW NIGHT!: spectredigital.com/summer-sla...
I thoroughly enjoy playing to a metronome. It is refreshing to actually play a song at the right tempo and not speed up to 350 bpm out of nowhere.
More fun with drum loops. :)
I use drum tracks for this. More... realistic, so to speak. Then again, my practice methods aren't cor everyone, as I'm 100% self taught. So take what I say/suggest with a bag of salt lol
Absolutely. My band also plays with a click live and I seriously will never go on without it. Everyone is tight, on time, and it's just great. We also automate our kempers become of that too. It is the best!
I like tuning up and playing with a song recording, I find metronome grating. Witch is too bad, cuz they are great.
I feel pretty confident without it I’m decently on time don’t get me wrong I have my moments but the click annoys the hell outta me
I really just play to the song
“Packed with sonic possibilities.” So is my 5 year old.
As a father of a 5yold also, I approve this message 😂
Beck: Mongolian Chop Squad
had to go looking.
Thank you! I didn't understand what it was called.
It's a few years old and super great
I finished the manga last month lol. I totally wasn't expecting Glenn to recc it today.
@@DatBoi-du7eo He's been recommending it for years, he actually recorded a cover of Moon Over Water a long time ago.
God I haven't heard this name since high school.
I used to Quad track, now i triple track, with the third track up the middle, more buzzsaw-ey in the tone, and tucked under the L/R main rhythms tones. The key is track them all. Three tracks, played three times! If you must edit, tracking a guitar every 8 bars, and sewing them together, you STILL need three completely separate takes!
ELE; Glenn, i don’t use your presets, because i feel the cymbals are very harsh! I’ve taken the kit, and designed my own, and i recommend this to everyone using midi drums! The other thing i HIGHLY suggest, is listen to drummers. All kinds of drummers. Listen to how they hit. Not everything needs to be 127 velocity!! And, write your own beats, so they make the rhythm section tight. Take time to learn how to program triplets. Quads. Rolls. Flams. Rimshots. And lastly, double kick beats- take the velocity down on those kicks, and you’ll find the drums shine better!
It has taken me years, AND getting ELE to get my drums to evolve. There is nothing better than a midi kit that actually sounds like heavy drums!
Cheers to all- check out how i use ELE, Element, Neural DSP, logic, slate, waves, and SSL plugins on my newest track, “noodle Shop” currently on every streaming service!!
open.spotify.com/track/3DVKu5sRgyRhJVdw4XojhO?si=U2AK_uwiSvqjdeWMWGXO3A&context=spotify%3Aartist%3A5XcZASMVHohMueHq1Xitp5
You listened to Dirt by Alice chains lately, didn't you ?
I can’t believe Glenn thinks that the best way to tell the quality of the amp is by listening to it. Lol.
Obviously the only thing that matters is what you can see with your eyes. Glenn’s doing the classic Dunning-Krueger bit
;)
I mean, if your only criteria for quality is the tone thats fine, but if youre traveling with a tube amp, you should be just as concerned at the build quality. If its gonna sit at home though or in a studio literally the only thing that matters is the tone.
Hey glen, i just wanted to thank you so much man for answering my questions, that was truly cool that you did that, and that ment alot.
My best wishes and support always go to you and the SMG community.
Here's a neat trick for getting feedback at reasonable volumes in the control room (as stolen from Sylvia Massey): get yourself a DOD 240 passive resistance mixer (shouldn't cost you more that $50 on Reverb). Use it backwards - to split your guitar's output into multiple outputs. Run 1 output to your regular amp, and run another output to a small practice amp (I use one of those toy Marshall amps that runs on a 9 volt battery) . You keep the toy amp fairly close to your guitar and set it for really high gain - but do NOT mic it up - that amp becomes what triggers the feedback - and it doesn't really get that deafeningly loud. Then, in another room, you DO mic up the speaker cab to your regular amp; now the feedback you generate will the cranked out little practice amp will also travel through your regular guitar rig as well. The cool thing about this approach is that you can have your regular amp on any gain or EQ setting you want - and it will still feed back like it's completely dimed; even if it's a clean signal. In fact, clean settings can be really wild - it sounds a lot like an e-bow. You can even do this with electric\acoustic instruments with very cool results. David Gilmour used this trick a lot on "The Division Bell" (specifically during the song "Take It Back".)
A word about United Audio products: THEY ROCK! In addition to a great reamp box, their Fet 47 and U87 clones are excellent microphones by any yardstick...especially at their price point.
I saw this in a music play about queen, the guitar player had a microcube and sometimes he literally put the guitar inches from the thing. really effective and the audience couldn't hear the micro amp
Cool trick!
That can also be done with any ABY, amp splitter, or any pedal with a "stereo" output..
@@FerutElCampeador That thing is the mysterious deacy amp.
Richard Kaplan formerly of indigo ranch (korn, sepultura,slipknot, limp bizkit etc) did a trick at least with Korn where he mixed in a small like, 10W amp in with the usual Marshall JCMs and Mesas they used for the first 2 albums they did at indigo.
Mr. Kaplan would run that little 10W amp all the way up and had it sitting in an alcove hidden away. Unironically it makes a lot of sense to use that mixed in. Since a high gain amp like a mesa dual or triple has very little natural breakup at low volumes. Usually the less output (think 50W vs 150W) it's MYCH easier to get natural breakup/feedback because you are pushing the hell out of those little circuits. Lol
So Chuck Schillings left a nasty comment to Glenn and he replied he's doing a investigative video to see if his parents are really brother and sister oh man this comeback killed me😂👊
love the "helpful glenn". however, never get rid of butthurt of the week.
The Forever War is AWESOME -- my favorite book of all time, legit.
I also first read it in high school, and years later when I was in the USN, I read it again while deployed on a fast attack submarine. That book was a completely different read under those circumstances -- being underwater for weeks at a time has a lot in common with what one would expect from interstellar travel (minus the time dilation, thankfully).
You probably already know this Glenn, but Joe Haldeman served in Vietnam, got injured and received a Purple Heart. A lot of his experience with being wounded in a military hospital comes out in the chapter where Mandella loses a limb (can't remember if arm or leg) in that drop ship crash.
Thanks for spreading Haldeman's gospel, and thanks for a killer video as always!
The book has really interesting comic book interpretation (can't really say what are the differencies between the comic and the actual book). I was a kid when I read the comic and it blew my (too young for that shit) mind.
thanks for the tip about Kaiju No. 8!!! Great one!!!
The DigiTech Freq Out pedal will allow you to achieve feedback in a digital (non-amp) signal chain. There are multiple settings so it can be tailored to most tastes.
The HX One has a feedbacker effect (among other things of course) that is also really cool. I love it on my Stomp, nut it eats up half the DSP in the Stomp lol.
Oh my Hylia, a bass cab shoutouts !! I'm looking forward to that.
The Forever War was clearly a response to Starship Troopers where the author felt Heinlein glorified war too much. The Forever War on the other hand deals with gritty horrors of war and the toll it takes on the soldiers.
There is an IR pack from Karl Sanders of Nile and he talks about how he uses a Greenback loaded cab for his rhythm tracks and then a V30 loaded cab for leads. Seems to work for him.
100% agree on the HB cabs. They are very useful platforms for getting a lot of speaker options.
You can buy one of the V30/Greenback/etc cabs and then sell the speaker and get the speaker you want and the total cost will be comically low. Thomann basically sells the cabs at around the speaker costs so even if you get “dinged” into having to sell the speakers as “used,” you can effectively get the speakers you want for “half price.”
I pulled the V30’s out of mine and installed a WGS invader and retro 30. Debating on getting another cab since they do sell unloaded cabs and installing a pair of mojotone watchtower speakers.
For creating feedback without destroying eardrums: The FreQout! If you have a helix they modeled it a few updates ago as well.
For the guy that asked about feedback. Another solution is you could run a sine wave through the amp sim you’re using and fade it in. Creates a very similar sound to feedback and sounds pretty cool too
When people ask about cabinets they should state for which usage.
The HB 212 Plus is fine on the road too though, but get at least a fitting cover for that purpose, since the tolex used on them is rather thin, or just ripp it off and paint it with DuraTex or some other durable speaker paint and still use a cover for transport.
Thomann sells them as empty cabs too, for those who want other speakers in them.
2:05 the Forever War has been on my to read list for 20 years lol. Thanks for reminding me. Gonna get it now!
Thanks, Glenn! Learned something new today. Hope your Neve is back on track soon!
In regards to the solo sitting in the mix. If you don’t wanna do automation there’s also the side chaining compressor lead to the rhythm. To drop it a few db as you mentioned and it can sound a bit more natural (depending on the compressor being used).
Shout out to the Spiffing Brit on Spectre? Hell yeah man! Love that dude!
Yep feedback using amp sims is easy, and you don’t need ear bleeding levels to do it. A reasonably loud but comfortable level will do. You will need to pipe the output (like master out or a subgroup) into a recording audio track. Just make sure the recording track is not routed to any output, otherwise you’ll get feedback alright, just not the type you want.
"Sonic possibilities" yeah, my Sega Genesis has Sonic possibilities too. How's these statements are relevant to the conversation of making music, I do not know lol
Holy shit. I fully forgot about Mongolian Chop Squad. My weekend just got incredible.
Fully agree with the live off the floor comment, too. I'm just about done mixing a band where we tracked everyone together for the backing tracks, then came back and overdubbed vocals ABBA style, with the lead and backing vocalists singing into two different mics and facing each other. Learned a whole shitload about what not to do, but we're nearing the final result and the energy is utterly delicious. Can't wait to do it again with the lessons I learned.
This channel REALLY helped me dial in my snare tones, so double-thanks.
I like it when you're a sarcastic bastard. 😂
Hey Glenn what's your experience in recording fretless bass. How many limes have you had someone thinking that they're Jaco and in reality they're Nikki Sixx
In regards to the fishman pickups, as far as I am aware they can shift the tone a bit with their different voicings. They’re active pickups in a different way than emgs in that they have circuitry in between the coil and the output that essentially EQs it to whatever specifications you might want. Not all sets are super versatile though… the fluence moderns sound almost identical between the voicings on high gain. The Devin Townsend fishmans have a pretty noticeable difference though from what I can hear, as an example. It’s basically a slight modification to the source signal. It’s equivalent to putting an EQ pedal in the front of an amp, which can change the tone a small amount depending on settings. Is it a $300 difference? I doubt it.
Loved beck. Watched it as a kid and kept replaying the tracks into adulthood
I’m not sure if all the details in manga and anime are the same, but Beck is definitely my rite of passage. First picked up when I was in middle school and just started playing guitar, after that, high school, university, graduated, employed, and at every stage of my life, I kept re-reading it and it hits differently every time.
Gleeeeeen please help! Trying to buy the summer slam deal, but I won’t give me an option to do it in 4 payments. Is it because I’m in Canada?
ok, ok, ok here we go. Feedback without an amp in the studio, you need at least an ES-335 variant and really loud headphones for organic feedback OR the BOSS Distortion Feedbacker, a very cool pedal. If you want feedback while you are playing a note you need to take your headphones and put them as close to the pickup as possible, one time I did this at the end of a dramatic run in a solo a little too hard, the guitar sounded like it exploded! So cool! Anyways if you just want musical feedback, use an open tuning and a capo to feedback in the right key. RECODRING A BASS AMP, bass is a different animal than guitar. Guitars you record close normally, although Hendrix did not. A Bass cabinet does all kinds of crazy shit when you get it really loud, cab resonance and the general movement of volumes of air and the interplay of the speakers themselves. Remember JIm lill's experiment was done with a tele on little guitar cabs, not an 8x10 Ampeg cab at 120db and at 60HZ. The studio standard used to be, mic the bass cab and use a DI then split those in stereo or blend to taste. You also need to use the right mic, not a fricken sm57, you need a mic with good response down below the 100hz. It's not complicated, surround your bass cab with old twin mattresses or something if you don't have an ISO booth where things won't rattle, mic it with a bass drum mic backed off a few feet, crank your ferkin amp to 11, then split out of a DI to the board or your digital I/O.
To the one asking about Amp Sims and Feedback. Yes, it's definitely possible. Try using a Fuzz Pedal and dime the gain on that and on your amp, turn off the noise gate and there you go
GLLLEEENNNN!
One of the most pervasive 'arguments' that seems to be coming from the 'resistant to evidence' crowd is this "BUT IN THE ROOM THE DIFFERENCE IS HUUUGEEE!!"
Now I just spent £18,000 last year converting the garage in my new house into a home studio.
I used both REW and SonarWorks to both analyse my room and give myself the flattest response possible. (I have a full video series on my channel)
Have ANY of these guitarist EVER thought and considered that the reason 'in the room' can appear so different is that their speaker position in the room and the room shape is causing EQ increases in some frequencies and drops in other frequencies as the room modes both increase and decreases the frequencies coming out of speaker and changes depending on where the listener is. (along with that they DEFENITELY wont be level matching either)
Have you ever tested this as I think this would be an amazing test to test speaker placement in a 'standard' untreated bedroom and using REW to measure how the speaker output curve is affected not only by the room but by where the guitarist is sitting in relation to the speaker when playing.
Unless you are sitting in the EXACT same place every time, the room modes are going to really mess with your frequency curve and drop off times in REW.
Might be an interesting (yet possibly complex) test.
Oh, I wonder why that is the reasons studios spent so much money to control the room with things like diffusers, reflectors, absorbers, resonators... You must be on to something there ;)
So glad to hear someone talking about Beck, one of my all time favorite anime, I've watched it over and over. And part of the soundtrack was Burlington Ontario's own Boys Night Out, which I thought was awesome to have a canadian band having a song on a japanese show in the early 00s (side tangent, Spookey Ruben, maybe my favorite canadian musician, has had his song These Days Are Old used in the japanese variety show Warakora for something like 25 years now)
Guitar feedback is possible with small desktop speakers too. It's a matter of loudness vs proximity.
Plasma TVs were really easy to image burn, but it's extremely rare in modern LED and OLED TVs. Manufactures have several tricks in the software drivers to prevent this. For example, for areas of the screen that isn't changing they'll slightly dim individual pixels and slowly alternate which one. You can't see it, but it's enough to prevent burn in. They understand that people use TVs for computers and gaming that have areas that are static for long amounts of time. OLED is really tough. That's one reason it's used in "always on" displays for phones. It's technically possible to burn an image in, but it's highly unlikely. You'd really have to put in some work to do it.
There's really no way to get natural feedback other than using an amp. If you want to use amp sims and want feedback, you need a DI box, 2 guitar cables, and a real amp, could just be a small practice amp. It doesn't matter how it sounds because you're not recording the amp, you just need a lot of distortion. Sit directly in front of the overly distorted amp and tweak it until you get the result you want, it doesn't need to be super loud. With a cable going from your guitar to the DI box, and a cable from the box to your amp using the pass through, you will be able to record your guitar parts directly while still getting real feedback. You may need to tweak your guitar tone in the amp sim or put the feedback on a different track, but it will work.
might just be one of those things physical amp/cab has over amp sims
Thanks for wanting to look into bass speakers. I have an old bass practice amp that works fine but the stock speaker just sounds dull, so I'm looking to yank that speaker out and swap. I know that there has to be a difference since we see various bass cabs with different speakers.
You should put together a "Best Rants" video, or "Butt Hurt of the Week" compilaton! I'd watch either or both of those!
I second the fact that the geometry of a cabinet plays a big role(aside from the speaker of course) in how a cab sounds. I treated myself on my 40th 10 years ago to a custom built Filmosound style combo from a local amp builder who specializes in those style of amps. It's only approximately 15 watts with a 10" Celestion GN10 10" speaker. It's a smallish open back cab, but he clearly spaced and sized it out to get the fullest frequency response out of it. The level of bass, mids, and overall volume that come out of the thing is astonishing! Hell it sounds fuller than some of my 12" speaker loaded sealed cabinets! Cabinet sizing and geometry make a huge difference in the sound you hear in the room.
Hey Glen, I was wondering how often you change guitar/bass strings when tracking. I’m not an engineer or anything, just curious. I’ve always heard that you need fresh strings, but I’m curious about at what point a set of strings loses enough brightness to warrant a change.
Best thumbnail ever. Thank you. I needed that.
Hey Glen, so I can give my 2 cents on the realtor cable that came with rocksmith. They are basically an analog to digital converter with about 6 dB of variable gain. Latency depends on the system you are using it with. If I remember correctly, though, I think they are limited to a 16-bit converter and can do more than a 48000 hz rate. I would say if you're just starting to tinker or need something easily portable, then the cable would be great, but you have more flexability in a direct interface.
Another great tip I use all the time along with switching amps/cabs(sims) when getting solos to sit right in the mix, is to look at the frequency spectrum. If your rhythm guitars have scooped mids, add midrange to your solo sound and back off the highs a bit. If you're after more of a traditional metal rhythm sound with more midrange, try the opposite (just don't suck all of the midrange out) and try to emphasize a different high midrange frequency to get some definition. I don't remember it clearly, but it's a method I picked up by reading an interview with either Terry Date or Dave Jerden in Glenn's all time favourite guitar mag Guitar World sometime in the early 90's.
I tend to crank the mids for solos because that's generally where the fundamentals of the notes played in a solo are. Helps a whole lot with note intelligibility.
Be good to do a video for setting up a back up rig. Cause no matter how good or expensive gear is, a back up is almost essential!
As a bass player, I can say that good pickups have less noise and consistent output. There is a certain difference between the hotness of the signal between active and passive ones. That's it. Fishman/Emg etc sound almost the same when you connect to an preamp with drive and then put them in a mix. If you have a decent pickup it's fine you don't need to upgrade.
On the subject of two guitar players -- I will always recommend the first Cage the Elephant album as reference. That album with headphones has such an amazing mix and does a great job of showcasing two guitar players. Most tracks are panned hard left and right, and you can hear the individual players very clearly, even if they're playing the same riff. "In One Ear" is my go-to track if I'm looking for a reference on making two rhythm guitars sound good while panned off. I know it isn't a metal album, but you should never be afraid to learn from other genres and audio producers.
Hey to answer the amp feedback question, the best thing to do is that is to "Chime" between the 3rd and 4th fret (you do a harmonic on the 4th and 5th string) that will give you the simulated feedback and you an use your treble to change the pitch.
I was playing nirvana bleach, on the song papper cuts, you over crank the gain and treble and chime.
Its hard to get at first but if once you nail it down you can really mask it with your hands and pull the majic trick.
I saw a trick for getting feedback by using a small amp (microcube size) near the guitar. A guy in the queen music play was in the orchestra pit, playing really close to it when he needed feedback, otherwise the amp was not audible by the audience. If you get a magnet near the pickups they will catch it (a speaker is a magnet after all)
For the guitar solo question, I wonder if by too loud, they meant it’s sitting on top of the mix, in which case some reverb might help it glue into the mix better similar to vocals. I typically create sends of my guitar solo track into the vocal reverbs and whatnot in order to cut down on the number of reverb plugins I’m using
As far as pickup differences, it’d be great if we could get a robot or something to strum a guitar exactly the same (or like Jim Lil’s table guitar where it’s just the pickups and the strings) and swap out pickups to get some sort of an eq curve with a DI signal
Given the majority of pickups are machine wound with the exact same number of turns perfectly placed, the same style of pickups will sound identical because they are exact copies of each other.
regarding 9:55
I decided to go Premium on a family plan and the only "adds" I have to see are the ones built into the video, the interface with UA-cam music is pretty cool too
I played the Mick Thomson pickups in a guitar with a 5-way switch and really liked the different sounds. The 2 and the 4 positions were wired for single coil sounds with kind of a strat and then tele tone. I don't just play metal, so having all those options is way cool to me.
Thanks for that lead guitar tips!
What's the name of the anime again? Where can I stream it?
oh shoot thanks for the quick reply! i didn't expect it so soon
definitely taking notes on what you said, i do use different tones for leads (and i actually use *your* IRs for rhythm, hah), but i will try the automation thing, i have been trying that with other things (like dropping rhythm guitars a bit on the chorus if i have a big harmony stack on vocals, stuff like that) and it does make a world of difference, so definitely will try that for solos
thanks again!
also, definitely check the live action adaptation of beck, script wise is not as good as the anime because it has to be more condensed of course, but the songs, man, the songs!
I put like 5% of the raw input in the solo, it helps by giving a little bit of presence. I even run that through a big muff for maximum effect. It is similar as changing the amp, you can consider the raw input as a different cabinet or IR
Every time I hear of someone who has ANYTHING expensive break, I am reminded of the great words of Apu:
"Thank you, come again."
😂😂
I read "The Forever War" on deployment many years ago. Thoroughly enjoyed it.
Can you do a series on mixing bass vocals? In particular I would like to know if that bass package "Elemental" has features for getting kick, bass, and bass vocals to sit in a mix, as well as how to layer guitars on that. As a bottom dweller, I generally side chain the bass, then do a dynamic notch filter on the pads (guitar). I also do a bass roll off of the fundamental and any room sound on my voice ala Baritone. I in particular like to use bass sounds that mimic my voice so as to blend them.
19:48 9 hour video you say? My autism is tingling.
AMP SIM FEEDBACK TIP: Crank the distortion on the amp sim and it will feedback much easier and nastier, then when your done, change it back to how you had it!
All the Creambacks I've had sound great. I also love Celestions in Fender amps. Even Keith Richards uses Celestions in his beyond rare hi-power tweed Twins. I just use the regular 65s. Also if you find the EVH greenbacks grab them. Before his death they were cheaper than the least expensive Chinese GBs and made in England and tuned to be just like his vintage ones. I only have one but now wish I'd picked up another one to run in a 2x12.
Gotta be honest... I liked the more animated VC's better. Instead of my weekly laugh, I got a basic repeat of old topics rehashed for the viewers who didn't listen the first time.
The Ember War Saga is an amazing book series, definitely worth reading.
About the metronome thing. Imo it saves money for bands. It allows them to be more tight and allows them to use midi vsts for layers and programming drums for demos. Also recording shit to a grid makes it a bit harder to move around and change the arrangements. Maybe it takes away some of the life of some songs but it makes tracking and writing a much easier imo
Bands programming drums for demos?
I can say with confidence, that when I play my Fluence moderns with the modern voice the chugs are very clearly tighter..
Show us before and after recordings, because the rest of us don’t have any confidence at all.
@@SpectreSoundStudios Will do
If you want feedback through an amp sim, use an Ebow or Sustainiac. I do it a lot with STL Tones and my Schecter Sustainiac.
Thanks for answering my question!
🤣🤣🤣🤣 this is gonna be funny.
Hope things have gotten better with the Neve man.
I feel like with more investment into active pickup technology they could feature integrated preamps with large EQ differences and compression characteristics. Like using a clean mid boost (like the fortin 33/grind or the old tube screamer boost thing) to reduce the low end hitting the front of the amp. Giving a clearer pick attack.
I've got a bunch of Alnico magnet pincushion style speakers, some in old enclosures, some just laying loose, from 6" - 12", and who knows where they came from. I'm in the process of designing a low power solid state (discreet) amp to see what all these oddball units sound like. I've got a DATS v3, so I can figure out what size and kind of cab "should" work with each one. Ought to be a fun set of tests. (I have a thing for the sound of the old Alnico speakers, if you haven't guessed.)
Beck: Mongolian Chop Squad is one of my all time favorites. Not only does it depict a competent bassist, but the song Spice of Life actually influenced my own style. Love it!
holy moly thanks glenn! never thought i'd see one of my comments on one of these videos ever.
I love Beck and it's one of the reasons why i began playing the guitar and later sing ❤
Picking up on the reamp thing my HX Stomp has reamp options nut I have never tried using it. I think the idea is that you can run a dry signal on and treat that as your guitar input running it through everything the Stomp has to offer but what if I just ran the reamp in, put nothing in the signal chain and ran it into the amp? For technological reasons I can't do this at the moment but would it work? The Stomp gets a digital signal so no issues over line or mic level so I can't see any reason why not but I am aware that I have almost zero experience here.
Speaking of differences in bass speakers/ cabs, if some how you get a chance to test a peavey headliner to a GK backline 4x10, my questions will forever be answered
Bass cab stuff? Yes, please do that Glenn. Not eventually please. Soonist.
the UA Replay box might be really good and a rebadged SignalArt ReAmp, but you can use any preamp that has impedance matching or selectable impedance if you're on a tighter budget. Some stand alone recorders that also function as an interface and control surface have impedance matching outs, like the Zoom R series, and some tube mic preamps like the ART Tube MPC for $175 have selectable impedance via a switching toggle button on the back. Joyo and ART also have desktop reamp boxes for around $100, with the ART having two channels, and the Joyo doubles as an active DI as well.
I've used a rocksmith cable when my other 2 channels were being used for something else. It works! I'd still get an interface
11:32 yes! There are potentially some issues though. It's actually been like 12 years since I recorded with one, but I remember some ungodly amounts of noise which you would have to remove with something like ReaFir. Back then I didn't understand basic tools like that, but I had a little bit of success. Rocksmith cables do work and can-in theory-sound professional.
Another problem is that you don't have the drivers on a dedicated sound card, but if your computer is good enough, you should be able to set up ASIO4ALL to have low enough latency. Good luck.
There is still quite some latency with Rocksmith cables, much better to go directly to an audio interface that has its own Asio drivers, even when playing Rocksmith 2014, there is a mod that will make it use the real asio drivers and buffer.
Asio4All isn’t flawless either.
@@JoeBaermann you're right
@@Ouvii Doesn’t even need to be expensieve, these days even some of the cheap audio interfaces blow PC sound cards out of the water, as I recall even Behringer made some of those, I recently switched from a rack unit to an Audient IR4 because of the instrument specific jack at the front, being USB powered and the user reviews for sound and driver.
If I had the need for onboard fx I would have bought something else or just use our live/studio rack.
Think most of the new modeller/multi fx units offer Asio too, not sure how well they work, but I guess some of them are as good for tracking as good audio interfaces.
Sonic possibilities. Reminds me of those Beats by Dre ads 😂
The Rocksmith cable is a basic A/D converter, it doesn't sound ..bad..it just doesn't have any character. Assuming you've got amp sims etc, it'll work welle nough.
It just will be VERY (completely) reliant on the quality of the plugins used.
That said, "reamping" is trivial since it is a dead clean signal but you're going to be limited to swappong plugins without a reamp box, etc.
Signed, tested the thing in beta and am still screwing around with it occasionally.
I have one of those Harley Benton cabs. I have AB’d it versus two different Mesa Traditional Slant 4x12 and a Line 6 stereo cab (the better cab that was for the Vetta and modelers going through a power amp, not the cheaper all black spider-ish cab)
And the Harley Benton works very well and almost no drawbacks to using it at lower volumes. I did however notice the sound starts to get muddier compared to all the other cabinets as the volume gets louder. The only thing I can think of to explain this is maybe the thickness and/or density of the cabinet wood. The Line 6 2x12 is considerably heavier despite having similar outside dimensions. And we know Mesa Cabs are built like a brick you know what house.
But if you’re a bedroom or garage player, I doubt you will ever hear the difference, but of course, to each their own. Just my humble $0.02 on the HB cabs.
Pretty much all of the fluence pickups sound the same to me but that sound is like a choir of angels met the guitar army from idiocracy
Here´s an idea for a video (if not already done?). How about using only a good EQ (good does not mean expensive) to recreate tones without changing speakers, cabs, guitars, mics, pickups and do a A - B test with the real thing. Where the use of an EQ and a spectrum analyzer instead of buying new gear is the video. I know it would take a lot of tinkering and time, but I think we underestimate the use of an EQ.
Positivity comment: I just feel like saying that I love playing guitar. I've been playing consistently for like three years now and I'm still learning new things and finding cool new tone set ups.
Hey Glen, love the work you do and the channel. You have a lot of videos demystifying what makes a great guitar tone, but I'd love to hear what you think makes the most difference when recording bass
And hey, as an incentive, you may only need to explain it once.
Many thanks
Ren
Hey Glenn, your bit about the audio interfaces had me thinking. Do you think the next big step in home studios will be audio interfaces that do it all? i.e. an interface with storage to be loaded with with software, that can double as DI, etc?
Thanks for the belch
Forever war is one of the Scifi classics.
It would be very interesting if you could compare bass mics, Since they aren't that distorted all the time they really make a difference. I have a Rickenbacker, a Jackson 5 string with active EMGs ,a Manne with a Music Man and a Precision style pickups and active electronics, And a Gibson Grabber and they all sound very different, even thru different amps, and different speakers: I have a Orange Crush 100 with a Hartke speaker. And strings make all the difference on a bass too. But nowdays I actually use amp sims for all recordings, with very few exceptions. Would love to see more Bass reviews too! Great Show! Keep on educating and entertaining!
Here's a tip, Glenn, if you want us to turn off our adblockers, TELL UA-cam TO MAKE LESS INTRUSIVE ADS! I mean banners and a short 5 second ad at the beginning or end, I can live with that. But long ads and ads in the middle? Back on goes the adblocker. Also, telling people to surf online without an adblocker is like telling a teen to go have sex without protection.
You could get YT Premium. No ads, no AdBlocker, no harm to creators...
@@Case_ And give YT and Google even more of my information while paying for it? rewarding them for extorting me just to be spared the ads? No thanks!
@@ChaptermasterPedroKantor-kv5yw Right. Because information is what this is all about. Also, extorting? Could you possible be more dramatic?
It's unbelievable the amount of bullshit people will make up to justify it being OK for them to get all the content they want for free without giving literally *anything* back...
Create feedback in a bedroom studio : just dangle ur least favorite headphones over the pickups and you’ll get feedback
Amp sim feedback: hold the guitar pickup you’re using to the monitor at moderate volume. It’ll feedbac
Hey glenn, if you ever do that cab shootout can you also do different size speakers because each size have pro's and con's.
I’ve found that using a DI box and playing through an amp in the room, whether you mic it up or not, is a good way to get feedback into your amp sims. I don’t knowing this has been offered up or not, but hope that helps.
GLENNN!!! Speaking of cabs, speakers, IRs for bass vs guitar and so on. YT notifications are clearly broken (at least for me), I will copy a shortened version of another comment I made regarding Celestion BN12-300S speakers on your previous videos:
- Celestion themselves recommends to use BN12-300S for BOTH guitar and bass, their support (signed as Dr Decibel) told me to be just aware that using it in an semi-open cab will lose some bottom end though it's totally safe even if I play bass through a setup like that (sounds good since guitar is my main instrument),
- some big names in boutique cabs market use them (Zilla, Barefaced, Quilter), some people use them instead of FRFR for modeller+poweramp setups,
- I have a midi programmable H&K Switchblade 100W 2x12 combo and am considering to load it with those for recording "moving air" with a mic and blending that with tracks recorded with appropriate IRs using Captor X or similar, both bass and guitar
- I am curious how these would work for metal tones on guitar and bass form someone who knows that they're doing, and how much using them in different types of cabs and/or using EQ at the end of the signal chain in effects loop would change the tone when using these (they're closer to flat response than most guitar speakers)